How, for example, can we recon- as circumspect in their choice of exegetical objects. Then, too, what are we to make of his occupations and the good works that a reasonable crea- argument concerning colors as properties of things and not ture—that is, man—must do to please his creator and things themselves, a vision of color that necessarily led Ohly to purchase an eternal reward. And by the buttoning of to neglect those cases in which pigments or other incorporated the robe, which is open in the back and sits on top of colored elements signify intervisually or intermaterially across [the other] robe, we understand the vanity and pleasure- different works of art or even within a single polychromatic or taking of the world, with which the devil buttons up the mixed-media object?
By this we under- account of medieval thing-signification? What can objects and monuments tell us about the construction of meaning in the Middle Ages if we Created not by God but by skilled artisans, the objects sub- are unwilling to read them as substitutes for or subordinates jected to a moralizing exegesis in this vernacular tract are banal, of texts?
First, as Christina Nor- also artifacta and ornamenta might signify, even in tropologi- more and Beate Fricke explore variously, the relation of words cal or soteriological terms.
Art history has not yet gone beyond iconographic study to make a systematic study of the possibilities of the language of forms by which typological connections are made visual. Throughout his writings a peculiar con- cept continually arises when he speaks about this relation: the notion of visible and material works of art as mute forms.
Sacramentary of St. Gereon, Cologne, ca. Take, for instance, the Annunciation miniature ings of the Annunciation—thereby underscoring the problem in the Sacramentary of St. Gereon from about Paris, of representing the ineffable or the invisible. Gereon Annunciation struc- a cloud, or a grassy mound.
Middle Ages. And I property; the significations of colors that are specific to will fly and I will rest. Behold I am wandering far off and I have a particular thing, by way of the things they specifically remained in solitude. These are then der of the manuscript. Ohly, however, stops short of reading interpreted in the body of the text inscribed on folios following the colors as relating to each other pictorially or in formally the image.
The medallions on the left side of the composition significant ways; rather, he tries hypothetically, at his own describe the wings of the dove as air color or sapphire , by admission to find meaning in their juxtapositions throughout which divine contemplation is evoked, and silver, which, in turn, the page by reference to textual sources. The colors actively guide the beholder through the page by provid- ing visual connections between the dove and its diagrammatic habitat.
The eyes and the feet emphasize the top and the bottom of the picture of the dove, which is also a dove. If, Paris manuscript chose to deviate from the text. In chromatic on the other hand, this particular, painted dove does in fact mat- terms, as in every other formal respect, each painted dove is ter, how are we to reconcile the differences between text and unique to its manuscript, produced, quite materially, by dis- image we have observed?
However, in a powerful tradition of medieval significs. Cathedral, not an exegetical manuscript, and the muted forms enological understanding of the cathedral as an architectonic at stake in this investigation are not simply pictorial but also space—one that a beholder would have to move through, not spatial, architectural, and sculptural.
This avoidance of the Ohly attempts nothing less than an analysis of every aspect of material, phenomenally temporal dimensions of an embod- Sta. Working from Hugh of St. Ohly does physical paintings—among others, Ohly reads the built cathe- not offer any real explanation for his curious comment. And dral against textual interpretations of spiritual structures in yet, a more rigorous formalist account of one scene in the pave- order to perform an exegesis of the building as a whole.
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Pact between Elijah and Ahab designed by Domenico Becca- Reading the space of the cathedral as a representation of fumi — Fig. From the portal to the altar, almost all the pictures—even in the sixteenth century—have a banderole let into the marble, without which the prophecy of the pavement would be almost mute. Pictures and words form a unit.
The Bible as scripture
A purely formal look at this work of art would lead past it into a vacuum. Giovanni Paciarelli, design of the pavement of the duomo in Siena, and the statues of twelve apostles and eight candelabra that , detail, A, location of Pact between Elijah and Ahab; B, location of Sac- adorn the pillars all play a role.
Ohly finds patristic authorization for his command- the figure of Elijah pointing to the sacrificial steer is on direct ing exegesis of both the horizontal and vertical aspects of the axis with the high altar, set just three slabs to the east Fig. The fact temple of Ezekiel. Describing how the gate of the temple of that the dead tree in the far background of the paving slab fea- Solomon denotes holy scripture, Gregory explains that its width turing the prophet is also directly on axis with the high altar latitudo at ten cubits is less than its height longitudinem at and given the shape of a cross makes this point in terms that are thirteen cubits because the width represents the Old Testament, simultaneously visual, spatial, and typological.
Although Ohly and its height the law under Christ: recognizes that Elijah gestures toward the high altar, he does not build an account of formal typology from it, something, we What, therefore, was the width of the threshold of the will recall, he lamented was missing from art history. The Lord infancy.
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Hence the law is understood which lay A history of the Old Testament from Elijah to Moses, with a along the width [i. Instead, he again tion of visible and material forms. Beck, K. Questions and comments offered by 2. Special thanks are also due to 3. The literature is too vast and varied to be surveyed here; an excellent Herbert Kessler, whose essay in this issue was not presented in the CAA point of entry into the historical and historiographical issues is offered session but was conceived in relation to that session and who encouraged by C.
We would also like to and Gothic in Northern Europe, ed. Rudolph Oxford, , 44— For a recent critical review of the literature, with an extensive bibliogra- the photograph of Friedrich Ohly that appears in this essay. Research and phy, see D. Several scholars working within or in dialogue with the disciplines of the History and the Division of the Humanities, University of Chicago, and history of science and technology have attended more closely to nontex- the History of Art Department, Johns Hopkins University, without whose tual forms of evidence than the literary-historical accounts inventoried support we could not have realized this project.
The following studies offer exemplary points of entry into a wider 1. For a sampling of recent work taking up the question of materials and literature: L. Daston, ed.
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The Heroic Age: Reviews
Lutz Freiburg, , 63— Following Heidegger, Brown has proposed an analytic distinction This text is widely available in a reprint edition: F. Macquarrie by A. Kumler and C. Robinson as Being and Time Oxford, Heidegger articu- This fundamental essay has become a touchstone tary on the St. See D. Preziosi, ed. Ohly, ed. Oxford, , —95, teserkenntnis, Bibliothek des Mittelalters, 2 Frankfurt, , 2. On Franz Koch, see, among others, H. See most recently, I.
Anecdota Americana Being Explicitly Anthology
See, for example, M. De Grazia, M. Quilligan, and P. Stallybrass, eds. Jahrhundert, Literatur Forschung, ed. Boden, H. Dainat, and U. Hunt, eds. Jones and P. Spyer New York, , — For several critical responses to new historicism deutsches Altertum und deutsche Literatur, 89 , 1— Bruster, Shakespeare and the Question F.
Ruberg and D. Jaffe, foreword to F. Jaffe Chicago, , ix—xii; S. Jaffe, epilogue to Vorschlag zum St. Meyvaert, S. Wenzel, and C. Meier-Staubach, Meier and R. Suntrup, Handbuch der Farbenbedeutung im Mittelalter, Distinctiones monasticae, Liber 3, De lapide, in J. Pitra, Spicilegium Pictura et Poesis, 30, 2 vols. Cologne, [forthcoming] ; and H. Meyer solesmense complectens sanctorum patrum scriptorumque ecclesias- and R. In addition to these latinis codicibus, 4 vols. Wells, According to R. Kaske, the Distinctiones has not yet appeared ; H. See R. Bischoff and S. Brechter St. Northcott, 9.
For a recent revisiting of this topos, see M. Car- A more com- Publications in Mediaeval Studies, 3, ed. Moore and J. North- Latin Middle Ages, trans. Trask New York, , — Richard of St. Cited Northcott, 4—5. Northcott, 12— Augustine, De doctrina christiana, De vera religione 2.
More Options Prices excl. Add to Cart. View PDF Flyer. Contents About. By: A. Pages: i—xvii. Pages: 61— Pages: — Biographical Note Abigail Firey , Ph. She has published articles on Carolingian canon law and its cultural and intellectual contexts, and is directing the digital Carolingian Canon Law project.
Related Anecdota Americana: Being, Explicitly, an Anthology of Tales in the Vernacular Elucidatory (Complete)
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